Morgan Delt - Morgan Delt (2014) FLAC

Our world is an impossibly and perhaps unnecessarily connected one, a place where household cats have Instagram feeds and most details of a life turn up after a deep Googling. No matter how much one attempts to stay off the grid, eventually something comes up. For example: The second page of Google results for “Morgan Delt” includes a character page for Morgan Delt, the protagonist of an obscure 1966 Vanessa Redgrave-starring film called Morgan—A Suitable Case of Treatment. Wikipedia describes him as “a failed irresponsible leftist artist” who’s obsessed with Karl Marx and gorillas; a characteristic quote from IMDB is something like, “[places skeleton on bed] Man is born to sorrow…”

If this is not California native Morgan Delt’s chosen pseudonym, it’s awfully telling of an interesting upbringing. He’s a homegrown musician whose debut self-titled album (which includes much of an earlier limited-edition cassette release) evades convenient pigeonholing. There’s the deal with the name, and then there's this: In one of the few interviews with Delt, the interviewer asks him to explain a song called "Barbarian Kings". "I did have a story in mind with that song," he responds. "I don't want to say too much about it though because what people imagine is usually more interesting. Your version is better!"

So, let's go ahead and imagine. In this album it’s easy to hear a band like the Byrds, who dabbled with jingle-jangle proto-power pop, fuzzed out martian rock, genteel country lament, and more during a five-year stretch in which members were swapped in and out depending on the mood. Rather than split time between such distinct states, Delt takes his armloads of sources—beyond the Byrds, you might describe the field of influence as sunny and stoned—and blends them into a variegated, melted mess. The result is a carefully built and naturalistic mosaic—you can hear the influences dissolving into each other even as the resulting sounds are crisp and memorable, rather than the half-baked invention of someone with a killer record collection. Listen to the taped-together percussion on opener "Make My Grey Brain Green", which rides a scratchy bass line and flowers into something like the moment when Dorothy's black-and-white world goes RGB. There's the Morricone-meets-Jodorowsky acid drone of "Barbarian Kings", the cyclical wobble of “Little Zombies”, the way "Chakra Sharks" rattles and crashes through a hornet’s nest of guitars into a wailing refrain of "Bye bye, farewell." Throughout the album there’s a heightened, eerie quality to his vocals; the feeling is something like an asylum patient waving to a car as it recedes over the horizon.

That's what I hear, at least. The whole album is so impressionistic and free-floating that you'll likely hear something else, as Delt intended. Projecting where he might go from here, it's not difficult to think of a band like Tame Impala, who temper spacey sprawl with more accessible songwriting. Future development doesn't have to be the point, of course; this album is fully-formed from first listen and begs return trips. There's another interaction from that interview that seems relevant: Asked if he believes in God, Delt simply replies, "No." If the faithless create their own meaning rather than wait for divine guidance, consider this an album that forces you to create your own attachments and associations. Even so, the artist is always present, elevating Morgan Delt from a wispy whatever into a clear statement of intent: It might not be obvious what you're supposed to hear, but you're going to hear something.

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